“Music of the People” was the theme of the November 18 Canton Symphony Orchestra program with works by George Gershwin and Pyotr Tchaikovsky. As stated in the press release for the concert, “the two composers…wrote music to touch the souls of the people of their respective countries.” What could be more “of the people” these days than national politics? Commenting on the evening’s opening selection — Gershwin’s overture to his 1931 satirical Broadway musical, Of Thee I Sing — a mischievously grinning Gerhardt Zimmermann explained that he intentionally scheduled the work to be performed on the heels of this country’s recent, highly contentious midterm elections. [Read more…]

Customarily, the Cleveland International Piano Competition announces its winner late in the evening of its final round, which this year featured concertos with the Canton Symphony Orchestra on Friday evening, June 8 at the Maltz Performing Arts Center. But for the Young Artists Competition this time around, CIPC kept its competitors and followers in suspense until an awards ceremony the following evening at the Cleveland Museum of Art. Here are the results (L-R: Shuan Hern Lee, Hao Wei Lin, Eva Gevorgyan, Xiaoxuan Li, Yunchan Lim, JiWon Yang):

I can only guess at why there were so many empty seats in the audience for the March 25 concert from the Canton Symphony Orchestra. If familiar classical music breeds ticket sales, perhaps this program was perceived (undeservedly) as too light-weight, or the selections too obscure. Or perhaps it was local Lenten fasting from orchestral music. In any case, it’s not my place to berate those otherwise faithful concertgoers who were missing in action on this occasion, except to say that they missed a real stunner.

A return to a concerto that brought with it a solo debut. The celebration of a long chamber music partnership and friendship. And one final concerto in a 22-year orchestral tenure.

Those landmarks in the careers of three clarinetists — Randy Klein, Richard Hawkins, and Allan Ware — can be heard across two days, March 3 and 5, in Canton, Oberlin, and Rocky River. On the docket are concertos by John Corigliano and Aaron Copland, and clarinet quintets by Carl Maria von Weber and Johannes Brahms.

The clarinet show begins on Saturday, March 3 at 7:30 pm in Umstattd Hall. Randy Klein will join his Canton Symphony colleagues and music director Gerhardt Zimmermann for the Copland Concerto, in between performances of Stephen Montague’s Snakebite and Mozart’s Symphony No. 40.

“This is my last season in Canton,” Klein said in a recent conversation. “I’m retiring from the orchestra.”

A particularly edifying component of the MasterWorks Concerts from the Canton Symphony Orchestra are the “Performance Preludes,” presented one hour before the program. Traditionally, these 30-minute sessions are lectures by guest speakers, often accompanied by recorded segments of music used to elucidate aspects of the upcoming program. [Read more…]

In his program comments celebrating the 80th season of the Canton Symphony Orchestra, Music Director Gerhardt Zimmermann wrote, “Why do I love conducting this wonderful orchestra?…The CSO is that rare gem of orchestras that conductors seek to make music with. Their playing is committed, heartfelt, powerful, and above all, exciting.” For the season-opening concert on October 14, that rare gem dazzled with exceptional brilliance, beginning with Samuel Barber’s Essay For Orchestra No. 2, composed in 1942. [Read more…]

The three works on the February 25 program from the Canton Symphony Orchestra couldn’t have been more diverse in emotive content. The Overture from Camille Saint-Saëns’ light-hearted operetta, La Princesse jaune (The Yellow Princess) ranks among the composers’ most charming if not most often neglected creations. Projecting an infectious exuberance, the orchestra successfully delivered all of the work’s breezy melodies and delightful rhythms imbued with a distinctly Japanese ethereality. [Read more…]

On one level, the January 28 concert by the Canton Symphony Orchestra, billed as “A Night in Vienna,” was unarguably a dazzling homage to Strauss family waltzes and polkas. But on quite another, it was an unprecedented occasion for some memorable shenanigans on the part of music director Gerhardt Zimmermann. [Read more…]

On the evening of October 29, while the Cleveland Indians were playing the Chicago Cubs at Wrigley Field in game four of the World Series, the Canton Symphony Orchestra wasted no time setting a festive mood right here in Umstattd Hall. From the rear of the house, all the CSO members — many wearing Indians caps or jerseys — strutted happily down the aisles and up on to the stage, all to boisterous cheers from the audience. Then Gerhardt Zimmermann led orchestra and audience in a stirring sing-along of Take Me Out to the Ball Game. [Read more…]

The October 1 concert by the Canton Symphony Orchestra was billed as “You Asked For It!” Last year, concertgoers were given a list of three works in three categories from which to choose for this season’s opening program. As Music Director Gerhardt Zimmermann reminded us at evening’s start, we chose well. I’m also happy to report that Zimmermann asked his colleague, Eric Benjamin, to compose a new work for the occasion. [Read more…]

Re•Views

Atlanta Symphony music director and Oberlin alum Robert Spano led the Oberlin Orchestra in impressive performances of Stephen Hartke’s cello concerto, Da Pacem — a world premiere featuring faculty cellist Darrett Adkins — and Jennifer Higdon’s Concerto for Orchestra in Finney Chapel on December 12. I caught the performance remotely via the live webcast. [Read on…]

The peripatetic CityMusic Cleveland Chamber Orchestra resumed its roving this past week from Wednesday, December 12 through Sunday, December 16 in a sprightly program led by principal guest conductor Stefan Willich with Cleveland Orchestra principal oboe Frank Rosenwein as soloist. I caught the second evening on Thursday, December 13 at Temple Tifereth-Israel in Beachwood. [Read on…]

The saga of New York City Opera, the company founded in 1944 at the behest of mayor Fiorello Laguardia to act as a populist foil to the socially elite Metropolitan Opera, is largely peculiar to New York, but its multiple near-death experiences and ultimate filing for bankruptcy in 2013 flash some warning signs across the industry. Will the most expensive of art forms continue to be viable as audiences and financial resources undergo gradual but seismic changes? [Read on…]

While many in the Cleveland area may be familiar with the choral works of Lakewood native David Conte — his music is regularly performed by ensembles such as Good Company — his recent CD, Everyone Sang, offers another side of his vocal-writing talents. Released in August on the Arsis label, this two-disc set comprises engaging works for solo voice and piano, as well as voice and instrumental ensembles. [Read on…]

Jack Sutte’s second album of solo trumpet music, Bent, follows Fanfare Alone and continues his passion for discovering new repertoire in that genre. After exploring various possible meanings of the album title in his liner notes (“images of metal, tubing, sound waves, refracted light”), Sutte writes that “solo works for trumpet are bent for the performer and listener; each requiring a willingness to fully participate in the unusual musical format.” [Read on…]

On his 2013 recording, The Rascal and the Sparrow — Poulenc meets Piaf, pianist Antonio Pompa-Baldi delighted listeners with his captivating interpretations of music from two stalwarts of the 20th-century French chanson. On his latest CD, the pianist looks to the music of his native Italy for inspiration — specifically the emotionally charged Neapolitan song. [Read on…]

ACRONYM — Anachronistic Cooperative, Realizing Obscure Nuanced Yesteryear’s Masterpieces — does not play the kind of music that marketers can brand as “relaxing.” Just as classical musicians have questioned the selling of their art as soporific and soothing, these twelve string and keyboard players reject sleepiness, self-seriousness, and the confines of the canon. On The Battle, the Bethel & the Ball, they pursue their stated mission of giving life to unknown, “wild instrumental music of the 17th century.” [Read on…]